Richard Roeper

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For 1,160 reviews, this critic has graded:
  • 70% higher than the average critic
  • 1% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

Richard Roeper's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Pawn Sacrifice
Lowest review score: 0 Fist Fight
Score distribution:
1160 movie reviews
    • 44 Metascore
    • 50 Richard Roeper
    Frantically overcooked, bursting with headache-inducing, rapid-cut action sequences and only half as clever as it fancies itself, Bloodshot is an ambitious and intermittently entertaining minor-league superhero film.
    • 50 Metascore
    • 50 Richard Roeper
    Nothing incendiary to see here, folks. Just a mostly forgettable, slow-season splatter movie.
    • 58 Metascore
    • 50 Richard Roeper
    All the players in The Misogynists sound as if they’ve been handed talking points instead of a screenplay.
    • 52 Metascore
    • 50 Richard Roeper
    Michael Winterbottom (“The Claim,” “24 Hour Party People,” “Code 46”) is a wonderfully gifted and versatile director, so it comes as no small surprise Greed is such a thudding. one-note takedown of a fictional avaricious fashion mogul.
    • 61 Metascore
    • 50 Richard Roeper
    The story fluctuates between the uninspired and the just plain weird — and then gets even weirder. It’s too basic and familiar to keep parents and older children consistently entertained, and too trippy and existential for the little ones.
    • 47 Metascore
    • 50 Richard Roeper
    Ford gives a grounded, quietly powerful performance as a reclusive, regret-filled, self-pitying old-timer who crawls out of a bottle and finds a renewed sense of purpose when he sees the world through Buck’s eyes. If only those eyes weren’t so distractingly incongruous.
    • 22 Metascore
    • 50 Richard Roeper
    The only thing more insane and contrived than the Big Reveal is the epilogue, which contains not one but two maddeningly bizarre developments that are beyond strange and inconsistent, even for a movie that’s been strange and inconsistent all along.
    • 49 Metascore
    • 50 Richard Roeper
    Despite the invaluable comedic/dramatic gifts of Julia Louis-Dreyfus and Will Ferrell, who do their best to inject some life and energy into the proceedings, Downhill is a pale, tame, broad and soft-edged remake of the far superior 2014 Swedish film “Force Majeure.”
    • 48 Metascore
    • 50 Richard Roeper
    Over all, Noelle is subpar — but it’s silly, harmless fun. It’s so forgettable it’ll be virtually erased from your memory five minutes after the end credits roll.
    • 62 Metascore
    • 50 Richard Roeper
    This is a surprisingly and disappointingly tame film, in which Morris is almost deferential to Bannon.
    • 55 Metascore
    • 50 Richard Roeper
    While Mirren and McKellen are as wonderful as you’d expect, especially in the early going when their respective characters are just getting to know one another, even these two legendary talents can’t overcome a convoluted, unfocused and increasingly implausible storyline.
    • 52 Metascore
    • 50 Richard Roeper
    You can see the big twist coming an hour in advance. And the big epic showdown is resolved in a manner that defies even the most cursory of examinations. There’s something almost depressing about how often this movie takes the easy, lazy way out.
    • 47 Metascore
    • 50 Richard Roeper
    This is a star-studded extravaganza light on character development and heavy on battle spectacle, resulting in an impressive-looking but dramatically underwhelming story.
    • 56 Metascore
    • 50 Richard Roeper
    The scenes between Gleeson and Huppert are rendered in muted tones and are sweet and effective. Subplots involving Sylvia and Paul are flat and uninteresting.
    • 54 Metascore
    • 50 Richard Roeper
    There are more than enough ingredients here to cook up one rousing and thought-provoking sci-fi thriller. Except this time around, they’re just serving up overcooked leftovers.
    • 54 Metascore
    • 50 Richard Roeper
    It’s hard to make a case for being a timely, provocative thriller when so many characters are regressive caricatures.
    • 46 Metascore
    • 50 Richard Roeper
    As quickly as Thing can snap its fingers, we’ll soon forget our visit with this version of The Addams Family.
    • 57 Metascore
    • 50 Richard Roeper
    The main story keeps stalling out in favor of these drive-by interludes that take center stage for a few minutes and then fade into the background, usually never to be heard from again.
    • 40 Metascore
    • 50 Richard Roeper
    It is an ambitious, dreamlike, beautifully shot movie (with cinematography by the legendary Roger Deakins) that aims for the fences again and again in the course of 149 minutes — but nearly every one of those mighty cuts is a swing and a miss.
    • 49 Metascore
    • 50 Richard Roeper
    Even accepting the increasingly dizzying level of logic-defying, mind-effing, increasingly convoluted time-bending developments in the entertainingly bad (but still bad) Don’t Let Go, I found myself wondering why and how.
    • 50 Metascore
    • 50 Richard Roeper
    It’s a morose and slow-paced and off-putting drama, in which even the joyous moments seem brittle and draped in melancholy.
    • 51 Metascore
    • 50 Richard Roeper
    In a rare weak performance for Cate Blanchett, she plays an aggravating, off-putting wife and mother in Richard Linklater’s disappointing book adaptation.
    • 35 Metascore
    • 50 Richard Roeper
    It gets to the point where it hardly matters to us who lives and who dies, because they’re all stone-cold killers.
    • 40 Metascore
    • 50 Richard Roeper
    It’s arguably the weakest, lamest and least memorable entry in the history of the franchise. It’s also crass and tone-deaf. And played mostly for laughs that are few and far between.
    • 38 Metascore
    • 50 Richard Roeper
    Tessa Thompson’s performance is the best thing in the movie, in part because she’s playing a character who genuinely respects the legacy of the Men (and Women) in Black and is thrilled to be part of the team.
    • 43 Metascore
    • 50 Richard Roeper
    Despite the frequent verbal confrontation scenes in which characters lash out at one another, soap opera style, for lying or serving their selfish interests, Dark Phoenix doesn’t come close to carrying the emotional impact of so many Marvel Universe films where the characters come across as complicated, relatable and three-dimensional.
    • 48 Metascore
    • 50 Richard Roeper
    The result is a well-acted, competently made, utterly tedious bore of a film lacking in creative spark, unwilling to take chances and determined to grind Tolkien through the muck and the blood of war and death at the expense of providing much insight into his creative process.
    • 48 Metascore
    • 50 Richard Roeper
    This is a noble effort, but ultimately Mary Magdalene isn’t much less of a mystery than she was at the start of the journey.
    • 48 Metascore
    • 50 Richard Roeper
    Despite the best efforts of McGovern et al., The Chaperone is lightweight trifle.
    • 57 Metascore
    • 50 Richard Roeper
    It’s ugly but not scary. It’s creepy but not chilling. It’s one of the least successful adaptations of a Stephen King story since …The last Pet Sematary.

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